From Vienna

28.8.2019, 18:30, BrickHouse, Hlubina Coal Mine

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Studio Dan

Daniel Riegler, Director

Jee Won Kim*: Who Am I? (2017) WP
James Ilgenfritz*: In The Summer Every Truth Is Like A Saturday (2019) WP
Christoph Walder: 
vozmozhnost (2016)
Mirela Ivičević: The F SonG (2014)
Oxana Omelchuk: wow and flutter (2017)

*residents of the Ostrava Days 2019 Institute
WP = world premiere

Vienna’s Studio Dan will perform a broad stylistic mixture of works by young European composers. The Belarussian, Cologne-based composer Oxana Omelchuk’s piece wow and flutter,for two solo trombones will feature trombonist Matthias Muche and Studio Dan founder Daniel Riegler, backed by the ensemble. Other pieces by composers from the Viennese scene (Mirela Ivičević, Christoph Walder) will showcase Studio Dan’s extraordinary skills and interpretive strengths, especially in their alternation between improvisation and precise rendering of a score (Daniel Riegler labels this technique “comprovised music"). In addition, Studio Dan will perform one chamber music piece written by two participants of the Ostrava Days Institute: Jee Won Kim and James Ilgenfritz.


Subject to change.


 

 

Jee Won Kim – Who Am I? (2017)

         Jee Won Kim was born in South Korea in 1994. She received her BA in composition from Chung-Ang University, where she studied with Insun-Cho (CAU), and is currently pursuing her master’s degree at Manhattan School of Music (MSM) under the tutelage of Reiko Füting. She has received prizes, awards, and scholarships in South Korea, the United States, and Italy. Her pieces have been performed by Unheard-of//Ensemble, and musicians at CAU and MSM. 

         Who Am I? (2017) consists of three pieces: I.Versions of MeII.Confusion, and III.Who Am I? It depicts the personal experience of the composer. “In the beginning, the ‘Real Me’ was perceived by people around me, but a misunderstood version of me gradually took its place, as my words did not resonate with them as I expected, which confused me. Later, everyone sees me in the same misjudged way, and I feel like I am losing the ‘Real Me’. I endeavor to find it, in vain, while pretending to be the ‘perceived me’, deep in the middle of the vicious cycle. Who Am I?”


Jee Won Kim


James Ilgenfritz – In The Summer Every Truth Is Like A Saturday (2019)

         Composer and bassist James Ilgenfritz leads The Anagram Ensemble and performs regularly as a solo bassist. In June 2018 Ilgenfritz presented his second residency at John Zorn’s venue The Stone, featuring world premieres of his compositions for the Momenta Quartet, The New Thread Saxophone Quartet, and the Supové/Moore/Choi Trio, and flutist Margaret Lancaster, as well as works for solo contrabass by Anthony Donofrio, John King, and Lucie Vítková. Ilgenfritz has performed throughout the US, Canada, Czech Republic, Germany, Hungary, Italy, Poland, Switzerland, and Indonesia. His notable performances include work with composer/improvisers Pauline Oliveros, Rufus Reid,“Blue” Gene Tyranny, and many others. Ilgenfritz holds a BA in Music Performance from University of Michigan and a MA in Contemporary Music Performance from University of California San Diego, and directs the Suzuki bass program at Brooklyn Conservatory of Music. In Fall 2019 he will be pursuing a PhD in Music Composition, Improvisation, and Technology at University of California Irvine.

         In The Summer Every Truth Is Like A Saturday was composed in June to July 2019 for the Viennese ensemble Studio Dan, for the Ostrava Days 2019 festival. A continuous theme connecting the disparate sonic textures is the constant pairing of flute with saxophone, as a direct reference to the work of American multi-instrumentalist Rahsaan Roland Kirk (in particular his piece Hip Chops, where he plays the flute simultaneously with the “manzello” [a modified saxello]). Kirk was renowned for his ability to play three saxophones at once, and to play flute and saxophone at the same time fits comfortably into his iconoclastic canon of transgressive musicality. Rendered blind at age two due to improper medical treatment, Kirk’s highly theatrical performative style transcended conventional notions of capability. His art nontheless attracts followers whose devotion to his work extends beyond the novelty of his unorthodox performative abilities, because his unconventional stage presence is underscored by his virtuosic musicality as a saxophonist. In this work the ensemble often expands and contracts from tutti notated passages to improvisational duets and trios, bringing about a continuous dialog between scripted and unscripted considerations of musicality.

James Ilgenfritz

 

Christoph Walder – vozmozhnost (2016)

         Christoph Walder (1967) was born in Toblach, South Tyrol. He studied horn, taking concert classes from 1985, first at Innsbruck. He later trained with Hansjörg Angerer at the Mozarteum Salzburg before finally moving to Vienna, where he studied with Roland Berger and Willibald Janeschitz at the University of Music and Performing Arts. His in-depth exploration of this instrument’s flexible applications has taken him from historical performance practice of the natural horn to playing ensemble and chamber music, as well as from improvisation in experimental music, expanding the possibilities of sound-production with the help of electronics, all the way to new playing techniques in contemporary music, which early on became his main field of expertise. A member of Klangforum Wien since 1993, Christoph Walder has taken part in the realisation of many new works, including world premieres. He teaches Horn in New Music both at the University of Music and Performing Arts in Vienna, and as part of Klangforum Wien’s joint professorship at the University of Music and Performing Arts Graz.

         The music of horn virtuoso and Klangforum Wien member Christoph Walder has been part of Studio Dan’s repertoire for many years. The music combines distinct sounds, heavy grooves and lots of humor. Nothing but all the ingredients Studio Dan is fond of.

Christoph Walder & Studio Dan

 

Mirela Ivičević – The F SonG (2014/2016)

         Mirela Ivičević (1980) is a Vienna-based composer and performer from Split, Croatia. Her work focuses mainly on exploration of reflective and subversive potential of sound, using bits and pieces of reality, abducted from their natural environment into a surreal acoustic world, resulting mostly in the patchwork of abruptly exchanging, hyperactive structures, distorted occurrences of post-yugoslavian reality, blocks of noise and traces of trip hop and pop. She finished master studies in composition at the Academy of Music in Zagreb, postgraduate studies in Media composition at the Universität für Musik und darstellende Kunst Wien and postgraduate course in composition with Beat Furrer at the Kunstuniversität Graz. Since 2010 she is co-curator and producer of Dani Nove Glazbe Split, festival of contemporary music and related art forms in Split, Croatia. She is also co-founder and member of Black Page Orchestra, viennese ensemble for radical and uncompromising music of current times. 

 

Oxana Omelchuk – wow and flutter (2016)

         Oxana Omelchuk (1975, Belarus) completed her master’s degree in composition with Johannes Fritsch and studies in electronic composition with Michael Beil. Her works were premiered at various festivals (including Donaueschingen Music Festival, Musikprotokoll Graz, or Wien Modern) and she collaborated with ensembles like Ensemble Mosaik, Ensemble musikFabrik, or Klangforum Wien. She received various awards and scholarships (including DAAD scholarship, Bernd-Alois Zimmermann grant the city of Cologne, or Villa Aurora scholarship). Oxana Omelchuk lives and works in Cologne.

         wow and flutter – My unrelenting interest in the impermanence of things, reflected in the studies of the music of the past, leads me this time to the history of the record. The material from which the records were made as well as their different playback speeds, the discovery of unknown names, exciting stories and, above all, unfamiliar musical repertoire are at the center of my compositional interest. Names like Nikolaj A. Manykin-Nevstruev, Irene Abendroth, François-Adrien Boieldieu, Heinz Reinfeld, Eric Plessow, or Joe Jordan hardly anyone my generation knows, but the importance of people for their time is undisputed. The purpose of this walk on the ruins of history, this stroll at the musical flea market, is to temporarily refute the realization that time is irreversible.

Oxana Omelchuk

 

 

 

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